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enAmon Carter Museum of American Art Presents A New American Sculpture, 1914–1945: Lachaise, Laurent, Nadelman, and Zorachhttp://www.cartermuseum.org/press/releases/amon-carter-museum-of-american-art-presents-a-new-american-sculpture-1914-1945-lachaise-laurent-nadelman-and
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<span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2018-01-04T00:00:00-06:00">January 4, 2018</span> </div>
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<p>FORT WORTH, Texas—<em>A New American Sculpture, 1914–1945: Lachaise, Laurent, Nadelman, and Zorach</em> features extraordinary masterpieces of modern American sculpture by Gaston Lachaise, Robert Laurent, Elie Nadelman and William Zorach. This exhibition of 55 sculptures and 20 drawings from public and private collections addresses the remarkable affinities in the work of these four divergent and competitive personalities, who became preeminent figures of modernism in the United States. The exhibition is on view from February 17 through May 13, 2018, and admission is free.</p>
<p>“<em>A New American Sculpture</em> is the first exhibition to investigate the integral relationships between classicism, modernism and popular imagery in the interwar sculpture of Lachaise, Laurent, Nadelman and Zorach,” says Andrew J. Walker, executive director of the Amon Carter. “It’s also the first major sculpture show we have exhibited in more than 15 years, and we are proud to be a co-organizer of this new scholarship along with the Portland Museum of Art in Maine.”</p>
<p>Four thematic sections in the exhibition parlay the ideas, influences, sources and techniques that distinguished these artists’ figural sculptures. Related drawings punctuate each section, as the artists at times employed preparatory sketches for their practice or explored ideas on paper after their three-dimensional works were completed.</p>
<p>The first section, <em>A New Past</em>, explores how these artists paradoxically looked to the past for innovative ideas. They all studied Archaic, Cycladic, Egyptian, Folk, Indian and Pre-Columbian traditions, as well as African and Oceanic wood carvings. Even though they and their contemporaries labeled these sources “primitive”—a problematic catch-all term that did not distinguish between time periods or cultures—the label implied that these various indigenous traditions were uncorrupted and removed from the artistic conventions of modern Paris or New York. To the four artists, so-called “primitive” sculptures represented a purer, more authentic approach to making art. They each harmonized these different influences with their modernist sensibilities to create unique objects.</p>
<p>Zorach, for instance, recalled poses of Cycladic and Egyptian figures when creating a three-quarter view of his daughter, Dahlov, in <em>The Artist’s Daughter</em> (1930). Yet, the sculptor personalized the work through his direct carving methods, even in the unyielding medium of marble, to reveal Dahlov’s tender features at adolescence. Similarly, Nadelman’s wood sculptures, like <em>Dancer</em> (1918), are reminiscent of the 19th-century trade and shop figures that were part of his personal folk art collection. Despite the historic look of <em>Dancer</em>, the subject was based on vaudeville dancer Eve Tanguay, known at the time for her scandalous high kicks. Nadelman and his contemporaries thus emphasized the importance of historic visual culture for their creation of new forms.</p>
<p>The second section of the exhibition, <em>A New America</em>, examines the four artists’ integration into the country’s rapidly changing society and its shaping of their artwork. As immigrants seeking kinship in the United States, they sought out likeminded modernists. In New York City, they exhibited in avant-garde venues such as Alfred Stieglitz’s 291 gallery and the Whitney Studio Club (now Whitney Museum of American Art). During the summers, they decamped to the rustic art colonies of the Northeast, where they began collecting the American folk art they appreciated for its craftsmanship and directness of expression. Along with the country’s historical artwork, its popular culture, entertainment and fashion also inspired the artists’ presentation of figures in everyday contexts.</p>
<p>Inspired by his experiences in America, Lachaise created his masterpiece, <em>Standing Woman</em> (1912–17), which represents a mythological and grandiose expression of his ideal woman, his muse and model, Isabel Dutaud Nagle, who would eventually become his wife. With her sinuous lines, the full-figured woman seems to rise effortlessly from the ground, making contact with the earth just at the balls of her feet. The sculpture astonished the critics as an expression of the new possibilities for American art, as they saw in this figure everything from a powerful pioneer woman to a female enchantress.</p>
<p>The third section of the exhibition, <em>A New Technique</em>, examines the four artists’ pioneering technical approaches and methods working with materials like alabaster, bronze, mahogany and marble. Lachaise and Nadelman, for instance, experimented with electroplating techniques, while Laurent and Zorach were leaders of the direct carving style of American modernism. In cutting directly into a piece of stone or wood, they took inspiration from the physical characteristics of their objects and claimed sole authorship of their artworks. “I think I had the fish then the figure, because I never plan a thing in advance” remarked Laurent when reflecting on his luminous alabaster <em>The Wave</em> (1926). The artist believed that the transparency of the material gave “life and vibration” to his female nude, who, entwined in waves, evokes one of the Nereids, goddesses of the ocean’s bounty and protectors of fishermen and sailors.</p>
<p>As the fourth exhibition section, <em>A New Movement</em>, reveals, sculpting figures in motion provided a vehicle for Lachaise, Laurent, Nadelman and Zorach to express the dynamism of 20th-century life in the United States. Themes of circus and theatrical performers, in particular, indicate the artists’ attunement to early 20th-century showmanship when “America became Stageland with a capital ‘S’,” as one critic remarked. Zorach’s towering work, <em>Spirit of the Dance</em> (1932), was most likely an homage to modernist dancer Isadora Duncan, who was a symbol of artistic freedom to the sculptor’s generation. Presenting her as an elegant nude, kneeling at the finale of a performance, Zorach employed sinuous curves to suggest the liberating power of the dance. He first executed an aluminum cast of this work for Radio City Music Hall in New York City (where it still stands today), and then created six full-size bronze casts, one of which is included in this exhibition.</p>
<p>Visitors can connect with 12 artworks throughout the exhibition using a mobile audio tour. Depending on the stop, they can listen to curators or a conservator talk about the artists, their inspirations, techniques and more. Large print labels, as well as the transcribed audio tour, will be available for use in the galleries.</p>
<p><em>A New American Sculpture, 1914–1945: Lachaise, Laurent, Nadelman, and Zorach</em> is organized by the Amon Carter Museum of American Art and the Portland Museum of Art, Maine. Government support is provided by National Endowment for the Arts. Foundation support is provided by the Henry Luce Foundation, Inc. and the Terra Foundation for American Art. Local presentation is made possible by the Jill and Charles Fischer Foundation, Dr. and Mrs. Kenneth M. Hamlett, Jr., the Ann L. &amp; Carol Green Rhodes Charitable Trust, Bank of America, N.A., Trustee, Rosalyn G. Rosenthal, and supported in part by a grant from the Arts Council of Fort Worth.</p>
<p>An exhibition catalogue of the same name will sell in the Museum Store for $45 (softcover).</p>
<p>Free Public Program<br />
Artist Lecture: James Surls<br />
March 29, 6:30 p.m.<br />
Contemporary artist James Surls will speak about his work, how he started as a sculptor, and the process and materials he uses.</p>
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Wed, 03 Jan 2018 22:56:13 +0000Tracy G.101602 at http://www.cartermuseum.orgAmon Carter Museum of American Art Announces 2018 Exhibition Schedule http://www.cartermuseum.org/press/releases/amon-carter-museum-of-american-art-announces-2018-exhibition-schedule-0
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<span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2017-12-18T00:00:00-06:00">December 18, 2017</span> </div>
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<p><strong>FEATURED EXHIBITIONS</strong><br /><em>A New American Sculpture, 1914–1945: Lachaise, Laurent, Nadelman, and Zorach</em><br />
February 17, 2018–May 13, 2018</p>
<p><em>A New American Sculpture, 1914–1945: Lachaise, Laurent, Nadelman, and Zorach</em> is the first exhibition to investigate the integral relationships between modernism, classicism and popular imagery in the interwar sculpture of Gaston Lachaise, Robert Laurent, Elie Nadelman and William Zorach. Assembled from public and private collections, this exhibition of approximately 55 sculptures and 20 drawings addresses the remarkable affinities between the work of these four divergent and competitive personalities, who redefined sculpture’s expressive potential during the turbulent interbellum period. Known to each other but working independently, these four immigrant artists created figural sculptures that reveal a confluence of sources—from archaism and European avant-garde art to vernacular traditions and American popular culture.<br /><br /><em>A New American Sculpture</em> has been organized by the Amon Carter Museum of American Art and the Portland Museum of Art, Maine. Government support is provided by the National Endowment for the Arts. Foundation support is provided by the Henry Luce Foundation, Inc. and the Terra Foundation for American Art. Local presentation is made possible by the Ann L. &amp; Carol Green Rhodes Charitable Trust, Bank of America, N.A., Trustee, and Rosalyn G. Rosenthal.<br />
<br /><em>Multitude, Solitude: The Photographs of Dave Heath</em><br />
June 16–September 16, 2018</p>
<p>From a crowd gathered in Central Park to solitary figures lost in thought, Dave Heath’s powerful photographs of loss and hope conjure feelings of alienation and a desire for human connection. <em>Multitude, Solitude</em> highlights the photographer’s black-and-white pictures of the 1950s and 1960s, an intense period of self-discovery and innovation for the artist. During these pivotal years, Heath developed groundbreaking approaches to narrative and image sequence, producing exquisite individual prints; handmade book maquettes; his poetic masterwork, <em>A Dialogue with Solitude</em>; and multimedia slide presentations. His sensitive explorations of loss, pain, love and hope reveal Heath to be one of the most original photographers of those decades.<br /><br />This exhibition is the first comprehensive survey of Heath’s deeply personal early work. Abandoned by both his parents by the age of 4, Heath lived in Philadelphia foster homes and in an orphanage until the age of 16. The turmoil of his childhood profoundly shaped Heath and his artistic vision. Just before his 16th birthday, he encountered a poignant photo-essay about foster care in <em>Life</em> magazine and became intrigued by photography’s potential to transcend simple reportage. Almost entirely self-taught, Heath channeled his feelings of abandonment into a body of work that underscores the importance and difficulties of human contact and interaction. <em>Multitude, Solitude</em> reaffirms Heath’s status as a key figure in 20th-century photography and highlights his deeply empathetic sensibility.</p>
<p>Source: Philadelphia Museum of Art</p>
<p><strong>ALSO ON VIEW</strong><br /><em>Commanding Space: Women Sculptors of Texas</em><br />
Through November 18, 2018</p>
<p>The evocative power of sculpture seems boundless in the hands of five living women artists whose work fills the Amon Carter’s gallery dedicated to regional artwork. Texas-based artists Celia Eberle, Kana Harada, Sharon Kopriva, Sherry Owens and Linda Ridgway take the traditions of sculpture in new directions for the 21st century. Allusions to nature and human figures connect the diverse themes present in their work, which range from evocations of history and metaphor to explorations of memory, myth and ritual.<br />
<br /><em>In Her Image: Photographs by Rania Matar</em><br />
December 23, 2017– June 17, 2018</p>
<p>This exhibition brings together four bodies of work by the Lebanese-American photographer Rania Matar that trace the development of female identity through portraiture. Depicting transitional moments of life, from girlhood to middle age, Matar’s works address personal and collective identity through photographs mining female adolescence and womanhood. Photographing girls and women in both the United States and the Middle East, the artist shows how the forces that shape female identity transcend cultural and geographic boundaries.</p>
<p><em>Ellen Carey: Dings, Pulls, and Shadows</em><br />
January 20–July 22, 2018</p>
<p>Since the 1990s, experimental photographer Ellen Carey has been making photographs that defy photographic conventions of depicting identifiable subjects. Instead, her works depict vibrant fields of color that are meditations on the very nature of photography as an image created by the action of light on a light-sensitive surface. <em>Ellen Carey: Dings, Pulls, and Shadows</em> features seven key works that explore the artist’s interest in color, light and the photographic process as the subject of her practice.</p>
<p><em>Jan Staller: CYCLE &amp; SAVED</em><br />
February 24–August 19, 2018</p>
<p>These two short videos by New York photographer-videographer Jan Staller reflect on a potent contradiction of contemporary material life. Where <em>CYCLE</em> revels in the powerful abstracting of paper traveling at high speed down a conveyor belt on its first step to being recycled, <em>SAVED</em> is a playful celebration of hundreds of small tools and toys accumulated over the years by the artist. Together these videos ask us to reflect on what we choose to keep and what we throw away.</p>
<p><em>Hedda Sterne: Printed Variations</em><br />
July 28, 2018–January 27, 2019</p>
<p>From luscious leafy tendrils to stark horizon lines, this exhibition of prints by Hedda Sterne celebrates the artist’s exquisite variety of formal interests. Although most often associated with a group of artists called the “Irascibles”—avant-garde forerunners of Abstract Expressionism—Sterne defied stylistic categorization. Her aesthetic experimentations fluctuated between organic and geometric, figural and abstract, and painterly and graphic. All share, however, a passionate attention to detail and form.</p>
<p>Drawn from the Amon Carter’s collection, this selection of lithographs features two thematic series that Sterne completed at the Tamarind Lithography Workshop in 1967: <em>Metamorphoses</em>, a study of the vegetal folds of a head of lettuce, and <em>Vertical-Horizontals</em>, a study of the atmospheric recession of the horizon. Both series expose Sterne’s highly original style and her intense exploration of a single theme over the course of many experimental compositions.</p>
<p><strong>ABOUT THE AMON CARTER</strong><br />
The Amon Carter Museum of American Art offers a renowned collection of American art housed in a Philip Johnson masterpiece in the heart of Fort Worth’s Cultural District. The museum is open Tuesday through Saturday from 10 a.m.–5 p.m., Thursdays until 8 p.m., and Sunday from 12–5 p.m. Admission is always free. Closed Mondays and major holidays. Follow us on Instagram, Facebook and Twitter @theamoncarter.</p>
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Mon, 18 Dec 2017 17:57:49 +0000LorraineB101506 at http://www.cartermuseum.orgAmanda Blake Appointed Director of Education and Library Services at the Amon Carter Museum of American Art http://www.cartermuseum.org/press/releases/amanda-blake-appointed-director-of-education-and-library-services-at-the-amon-carter-museum-of-american-art
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<span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2017-12-13T00:00:00-06:00">December 13, 2017</span> </div>
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<p>FORT WORTH, Texas—The Amon Carter Museum of American Art announces the appointment of Amanda Blake as Director of Education and Library Services. Blake comes to the Amon Carter from the Dallas Museum of Art (DMA), where she served for 11 years, most recently as the Interim Director of Education and Head of Family, Access and School Experiences.</p>
<p>Blake will provide the vision, strategic direction and leadership for the development of the Amon Carter’s programs and projects that connect audiences to the museum. She will join the staff at the Amon Carter on January 15.</p>
<p>“Amanda brings more than 13 years of arts education experience with a focus on initiating and creating opportunities that reach various areas of the community,” says Andrew J. Walker, executive director. “She is creative, innovative and passionate about art, and we are delighted to welcome her to the Amon Carter.”</p>
<p>While at the DMA, Blake oversaw a team of 26 educators who served more than 800,000 annual visitors through adult programs; Arts &amp; Letters Live; family, access and school experiences; interpretation; and the Center for Creative Connections. She expanded program opportunities and directed new educational initiatives for community engagement, increasing earned revenue by 90 percent. Her experience also includes education positions at the Modern Art Museum of Fort Worth, Nasher Sculpture Center and Wichita Art Museum. Blake has presented at more than 20 regional and national conferences and forums of professional organizations such as American Alliance of Museums and National Art Education Association. She earned her Master of Arts in Art History from the University of North Texas and her Bachelor of Fine Arts in Art History and Studio Art from Oklahoma State University.</p>
<p>“I am honored to join the Amon Carter Museum of American Art serving as the Director of Education and Library Services and to work with a dynamic group of museum leaders,” Blake says. “I am thrilled to continue the wonderful educational experiences currently offered by the museum, and I am grateful for the opportunity to expand and develop the museum’s community outreach and programming initiatives. Throughout my career, I have focused on developing and implementing programs and creating accessibility for underserved audiences, and I look forward to helping shape the next chapter for the Amon Carter with a group of talented education and library staff.”</p>
<p>The Amon Carter offers a renowned collection of American art housed in a Philip Johnson masterpiece in the heart of Fort Worth’s Cultural District. The museum is open Tuesday–Saturday from 10 a.m.–5 p.m., Thursday until 8 p.m. and Sunday from 12–5 p.m. Closed Mondays and major holidays. #amoncartermuseum</p>
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Tue, 12 Dec 2017 15:50:51 +0000stefanieb101467 at http://www.cartermuseum.orgAmon Carter Museum of American Art Receives $150,000 IMLS Grant to Support Photography Projecthttp://www.cartermuseum.org/press/releases/amon-carter-museum-of-american-art-receives-150000-imls-grant-to-support-photography-project
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<span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2017-10-11T00:00:00-05:00">October 11, 2017</span> </div>
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<p>FORT WORTH, Texas—The <a href="https://www.imls.gov/">Institute of Museum and Library Services</a> (IMLS) has awarded the Amon Carter Museum of American Art a $150,000 grant to make the personal archives of eight prominent American photographers of the 20th century available online. The museum acquired the archives of artists Carlotta Corpron, Nell Dorr, Laura Gilpin, Eliot Porter, Helen Post, Clara Sipprell, Erwin E. Smith and Karl Struss between 1979 and 2006. The photographs were previously digitized and now the museum has the support to capture approximately 40,000 unpublished documents and other items, providing researchers the means for deeper understanding of these photographers’ lives and their work.</p>
<p>“Our archives document a period when photography was being shaped into an accepted art form,” says Jonathan Frembling, archivist and reference services manager at the museum. “These photographers were in communities that were making great photography—places like New York City in the early 20th century and Taos and Santa Fe in the ‘30s and ‘40s—and they were the colleagues, collaborators and competitors of the big artists, in all media, of their day.”</p>
<p>The items will be digitized over a three-year period ending in fall 2019 and will include correspondence, manuscripts and three-dimensional objects such as cameras. The grant has allowed the museum to hire two full-time staff for the duration of the project to photograph and create detailed descriptions of the items. At the end of the project, a new search interface available on the museum’s website will enable scholars and the general public to search across these collections, allowing them to discover connections between documents and related photographs. As an added benefit, digitization also serves a preservation role by reducing the handling of original items.</p>
<p>“Stewardship of the archives of photographers who have defined the medium is just as important as adding contemporary works to the collection,” says Andrew J. Walker, executive director. “Sharing their work with the larger community through this support from IMLS is an honor.”</p>
<p>The <a href="www.cartermuseum.org">Amon Carter Museum of American Art</a> houses one of this country’s most important collections of American photographs. An integral part of the institution’s program since its opening in 1961, the collection includes over 45,000 exhibition-quality photographs by more than 450 photographers. The holdings span the full history of the photographic medium, from one of the earliest daguerreotypes made in this country to inkjet prints being made today. They reflect photography’s central role in documenting America’s culture and history and convey the medium’s development as a significant and influential art form. This grant helps ensure a wider range of the population will have the opportunity to see these works online and encourage visitors to see the artists’ works in person.</p>
<p><strong>About the Photography Collection</strong><br />
The Amon Carter Museum of American Art is home to over 45,000 exhibition-quality photographs by more than 450 photographers spanning the history of the medium in the United States. The collection began within months of the museum’s 1961 opening. Since then the holdings have grown to reflect photography’s central role in documenting America’s 19th-century culture and history and the medium’s development as a significant and influential art form in the 20th century to the present.<br />
Collection highlights include:<br />
• Significant holdings of 19th-century landscape photographs, including works by William Henry Jackson, Timothy O’Sullivan and Carleton Watkins<br />
• Key works by many 20th-century masters from Berenice Abbott and Ansel Adams to Edward Weston<br />
• More than 1,400 early portraits of Native Americans<br />
• One of two complete sets of Richard Avedon’s acclaimed series: In the American West (an Amon Carter Museum of American Art commission)<br />
• Complete sets of Alfred Stieglitz’s seminal journals <em>Camera Notes, Camera Work, 291</em>, and of Edward S. Curtis’ 22-volume opus <em>The North American Indian</em></p>
<p><strong>About the Institute of Museum and Library Services</strong><br />
The Institute of Museum and Library Services (IMLS) is celebrating its 20th Anniversary. IMLS is the primary source of federal support for the nation’s approximately <a href="http://www.ala.org/tools/libfactsheets/alalibraryfactsheet01">123,000 libraries</a> and <a href="https://www.imls.gov/research-evaluation/data-collection/museum-universe-data-file">35,000 museums</a>. Its mission is to inspire libraries and museums to advance innovation, lifelong learning, and cultural and civic engagement. Through grant making, policy development, and research, IMLS helps libraries and museums deliver valuable services that make it possible for communities and individuals to thrive. To learn more, visit <a href="http://imls.gov">www.imls.gov</a>, <a href="https://www.facebook.com/USIMLS">Facebook</a>, <a href="http://www.twitter.com/us_imls">Twitter</a> or <a href="https://www.instagram.com/us_imls/">Instagram</a>.</p>
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Tue, 10 Oct 2017 19:02:53 +0000Tracy G.101266 at http://www.cartermuseum.orgAmon Carter Museum of American Art Presents "Wild Spaces, Open Seasons: Hunting and Fishing in American Art" http://www.cartermuseum.org/press/releases/amon-carter-museum-of-american-art-presents-wild-spaces-open-seasons-hunting-and-fishing-in-american-art
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<span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2017-07-25T00:00:00-05:00">July 25, 2017</span> </div>
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<p>FORT WORTH, Texas—The Amon Carter Museum of American Art will host the first major exhibition in the United States to explore the multifaceted meanings of hunting and fishing in both painting and sculpture from the early 19th century to the mid-20th century. <em>Wild Spaces, Open Seasons: Hunting and Fishing in American Art</em> is on view October 7, 2017, through January 7, 2018, and features more than 60 paintings and sculptures that together demonstrate the aesthetic richness and cultural importance of hunting and fishing in America. Admission is free.</p>
<p>“Hunting and fishing is a subject that captivated artists throughout the 19th and 20th centuries,” says Amon Carter executive director Andrew J. Walker. “Not mere pictures of wild game and fish, these paintings and sculpture show that the relationship between man and nature defined the American experience for artists as broad reaching as Winslow Homer and Charles M. Russell.”</p>
<p><em>Wild Spaces, Open Seasons</em> includes a wide variety of genre scenes, landscapes, portraits and still lifes, including iconic and rarely seen works by Thomas Cole, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, Andrew Wyeth, as well as key pictures by specialists such as Charles Deas, Alfred Jacob Miller, William T. Ranney and Arthur Fitzwilliam Tait. In addition, the show sheds new light on modernist interpretations of these subjects by George Bellows, Stuart Davis and Marsden Hartley. The works illuminate evolving ideas about community, the environment, national identity, place and wildlife, offering compelling insights into socioeconomic issues and cultural concerns. Capturing a communion with nature that was becoming increasingly scarce over the decades, many artists alluded to the country’s burgeoning industrialization and urbanization at the turn of the century.</p>
<p>The exhibition is organized into six thematic sections: <strong>Leisurely Pursuits</strong>, <strong>Livelihoods</strong>, <strong>Perils</strong>, <strong>Communing in Nature</strong>, <strong>Myth and Metaphor</strong>, and <strong>Trophies</strong>.</p>
<p><strong>Leisurely Pursuits</strong> examines representations of hunting and fishing as recreational pastimes, often the province of society’s upper echelons, and the role of art making in navigating the social codes of leisure. Despite its European aristocratic origins, the hunt as an upper-class social ritual with strict codes of etiquette infiltrated but morphed in American democratic society. The portraits in this section display how the European tradition of representing sitters as gentleman-hunters was transformed in the American context, where hunting was central to the rugged exploits of folk heroes like Daniel Boone and later became legitimatized as a popular, hyper-masculine sport in the era of Theodore Roosevelt.</p>
<p><strong>Livelihoods</strong> features images of commercial enterprise, necessity and sustenance involving different social strata. Many people—guides, frontiersmen, trappers—depended on the bounty of the forest and waterways for their well-being. While America’s expanding agricultural prosperity made hunting for sustenance less of an imperative, the fur trade and commercial fishing still generated income. The paintings in this section explore the ways in which hunting and fishing became a means of financial reward.</p>
<p>Suspense-filled and often sublime depictions of close calls, tights spots and struggles to the death fill the <strong>Perils</strong> section. Such artworks enjoyed great popularity in America during the second half of the 19th century. Whether for commerce, sport or sustenance, hunting is fraught with a host of potential perils, including harsh weather, human error, rugged terrain, territorial disputes and wild animals. These works served as both spectacles intended to excite viewers, as well as visual metaphors for man’s attempts to tame the wilderness. As the country moved toward modernity, many Americans romanticized a past that celebrated the danger brave hunters faced in the unforgiving and volatile wilderness.</p>
<p>Depictions of fellowship and camaraderie in the fourth section, <strong>Communing in Nature</strong>, reveal how outdoor endeavors forged familial bonds and strengthened communities against the backdrop of shifting attitudes toward the natural world. Artists depicted families, pairs and parties engaged in hunting and fishing activities to express their beliefs in these groups as novel communities that would reinvigorate American society. Capturing vital moments of camaraderie and fellowship amongst hunters and fisherman, many artists suggested that these brother- and sisterhoods were communal antidotes to the fracturing of rural societies caused by industrialization and urbanization.</p>
<p><strong>Myth and Metaphor</strong> investigates the persistence of mythological associations prevalent to hunting and fishing, the ritual and spiritual aspects of the practice, and the way in which the figure of the hunter in particular became a malleable metaphor in the modern era. The works in this section forge the connections of hunting and fishing imagery in America to traditional myth—from personal mythic narratives of catching the fish of a lifetime, to the subject’s Classical roots, to political and religious allegory. This section reveals that from the earliest cave paintings and modern renderings of the chaste huntress Diana to the coming-of-age ritual aspects of the American Indian hunt and the parallels drawn between their participants and Classical models, the idea of myth and spirit, and even religious symbolism, is central to images of hunting and fishing.</p>
<p>In the final section, <strong>Trophies</strong>, depictions of spoils of the hunt act as symbols of masculinity, mortality and nostalgia. Artists’ desire to create trophy paintings gave new meaning to trompe l’oeil, or “fool the eye” still lifes. Prized for their cleverness and ability to test the limits of perception, trompe l’oeil still lifes memorialized the hunt for a growing class of sportsmen. Works in this section open onto issues of display and taxidermy, trompe l’oeil gambits and formal innovation.</p>
<p>In conjunction with <em>Wild Spaces, Open Seasons</em>, the Amon Carter presents <em>Caught on Paper</em>, a selection of works on paper from the museum’s collection that echoes the themes of the paintings and sculptures in <em>Wild Spaces</em>. The museum will also feature a concurrent video installation by living artist Hugh Hayden called Hugh the Hunter, which shows that the gentlemanly associations of the hunt persist to the present day and that myth, metaphor, perils and trophies continue to be important representations of hunting and fishing in art.</p>
<p><em>Wild Spaces, Open Seasons: Hunting and Fishing in American Art</em> has been organized by the Amon Carter Museum of American Art, Dixon Gallery and Gardens, Joslyn Art Museum and Shelburne Museum. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. The local presentation is supported by BNSF Railway Foundation, Christie's, Collectors Covey, Fort Worth Promotion and Development Fund, Joan and Walker Friedman, Karen and Tim Hixon, Julie and Scott Kleberg, Kleinheinz Family Foundation for the Arts and Education, Luther King Capital Management, Beth and Ron Parrish, Martha M. and J. Kent Sweezey, and Wells Fargo.</p>
<p>An exhibition catalogue of the same name will sell in the Museum Store for $45 (hardcover) and $29.95 (softcover).</p>
<p><strong>Free Public Programs</strong><br /><em>Americans Outdoors</em> Lecture Series<br />
Dr. Mark Thistlethwaite, Kay and Velma Kimbell Chair of Art History at TCU<br />
Every Wednesday from September 6–November 29 at 3 p.m. (excluding November 22)</p>
<p><em>The Art of Sustainability</em> Conversation<br />
October 19, 6:30 p.m.</p>
<p><em>A Walk in the Woods</em> Book Club<br />
December 14, 6 p.m.</p>
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Mon, 24 Jul 2017 19:11:43 +0000Tracy G.100974 at http://www.cartermuseum.orgAmon Carter Museum of American Art Presents Third Annual Party on the Porch on September 23http://www.cartermuseum.org/press/releases/amon-carter-museum-of-american-art-presents-third-annual-party-on-the-porch-on-september-23
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<span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2017-07-19T00:00:00-05:00">July 19, 2017</span> </div>
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<p>FORT WORTH, Texas—Party on the Porch returns to the Amon Carter Museum of American Art for the third year on Saturday, September 23 from 6–10 p.m. with more sound, more food and more Fort Worth! The community is invited to attend this free event with art, live music, food trucks and cash bars.</p>
<p>Outside on the plaza, partygoers can listen to three exciting bands with local roots—<a href="https://www.facebook.com/gromusic/">Green River Ordinance</a>, <a href="https://www.facebook.com/mattteddermusic/">Matt Tedder Trio</a> and <a href="https://summerdeanmusic.wordpress.com/">Summer Dean</a>—dive in to Fort Worth’s delicious food-truck fare, and purchase beer and wine. Guests may also preorder <a href="https://centralmarket.com/wp-content/uploads/2017/03/CateringGuide_2017-Picnic-Packs_low.pdf">Central Market Picnic Packs</a> by calling 817.377.9307; the food baskets will be at Central Market’s onsite store for pick up, as well as an assortment of food and beverages for purchase.</p>
<p>The porch will light up throughout the evening with special effects provided by <a href="https://www.insideimagedesign.com/">Inside Image Design</a>. <a href="http://www.panector.com/">Pan Ector</a> is back by popular demand with their Fort Worth-themed T-shirts that are screenprinted onsite.</p>
<p>The live music kicks off at 6:30 p.m. with the self-styled “AmeriTonk” sound of the soulful country artist Summer Dean. She is followed by the Matt Tedder Trio, whose music blends classic rock, blues and modern folk. Headlining Party on the Porch is Green River Ordinance with their grounded sound of country, rock, pop and folk. Last year the band released their third studio album <em>Fifteen</em>.</p>
<p>“The first two years of Party on the Porch were so much fun, and we could not be happier to be back again with this event for Fort Worth on September 23,” says Andrew Walker, executive director of the Amon Carter. “The combination of live music, food, art and community can’t be beat.”</p>
<p>Extended gallery and Museum Store hours (until 9 p.m.) allow guests to enjoy the artwork inside and have time to shop. Docents will be on hand giving tours for those who prefer a guided art experience; artmaking will also be offered.</p>
<p>Free parking is available at the UNT Health Science Center lot and east garage on Clifton Street (north of the museum). For more information about Party on the Porch, parking and accessibility, call 817.989.5030 or email visitors@cartermuseum.org. Visit the museum’s <a href="http://www.cartermuseum.org/partyontheporch">website</a> and follow <a href="https://www.facebook.com/theamoncarter/?fref=ts">Facebook</a>, <a href="https://twitter.com/theamoncarter">Twitter</a> and <a href="https://www.instagram.com/theamoncarter/">Instagram</a> for updates. The Amon Carter will close at 5 p.m. and reopen for Party on the Porch at 6 p.m. Will Rogers Road will be closed between Lancaster Avenue and Camp Bowie Boulevard from 8 a.m. to 10 p.m. on the day of the event. Please no pets or outside food or drink.</p>
<p>Presenting sponsors are: <a href="https://www.bswhealth.com/about/pages/default.aspx">Baylor Scott &amp; White All Saints Medical Center–Fort Worth</a>, <a href="http://www.centralmarket.com/">Central Market</a> and <a href="http://www.meadorauto.com/">Meador Auto Group</a>. Media sponsor is <a href="http://www.fwweekly.com/">Fort Worth Weekly</a>.</p>
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<p><strong>About Green River Ordinance</strong><br />
In 2016, Green River Ordinance released its third studio album, <em>Fifteen</em>, an 11-track collection with a simple message—hold fast to the things that are true. Since coming together 15 years ago as teenagers in Fort Worth, the band—Josh Jenkins (lead vocals, acoustic guitar), Jamey Ice (guitars, banjo, mandolin), Joshua Wilkerson (guitars, vocals, mandolin, piano), Geoff Ice (bass, vocals, harmonica) and Denton Hunker (drums, percussion)—has been about the core value of “finding something more,” rather than simply selling records, and the idea of a deeper meaning has remained their central focus ever since. “Throughout the entirety of <em>Fifteen</em>, Green River Ordinance’s harmonies are spot on whether it’s the gritty and rollicking ‘Maybe It’s Time (Gravity)’ or the sweeping ‘Simple Life’ alongside soaring pedal steel and piano accompaniment,” writes Annie Reuter with <em>Sounds Like Nashville</em>. “The album showcases Green River Ordinance’s pop sensibilities and rock influences alongside vivid country storytelling.”</p>
<p>Source: Shore Fire Media</p>
<p><strong>About Matt Tedder Trio</strong><br />
Matt Tedder was born and raised in Fort Worth. From a young age he had his hands on a guitar, and by 14 he had assembled a band and started playing locally and internationally. After a 2016 run on the popular television show <em>The Voice</em>, he now is a local favorite with a distinct style of songwriting that some say is reminiscent of artists such as Jackson Browne, Tom Waits and Tom Petty. With drummer Matt Mabe and Kris Luther on bass, Tedder won Best Blues/Soul Band and Vocal Performance at the 2017 <em>Fort Worth Weekly</em> Music Awards after thousands of fans cast their votes. His old-soul style of classic rock, blues and modern folk radiates when he is on stage. “If there’s a name that should be on your radar, it’s the Fort Worth-based blues artist Matt Tedder, whose masterful style pegged him as a guitar prodigy at the age of 10,” according to KXT 91.7 FM.</p>
<p>Sources: <em>Fort Worth Weekly</em> and Reverbnation</p>
<p><strong>About Summer Dean</strong><br />
Summer Dean is authentic as they come with a distinctly thoughtful approach to writing music, raw lyrics, a bare-boned and honest voice, and an approachable confidence. She released her debut EP album <em>Unladylike</em> in 2016 and plays numerous venues around Texas, while working to establish a firm-foothold in the thriving music scene of Fort Worth. “Once you’ve heard her faintly twangy voice — it’s nearly impossible to forget,” the <em>Star-Telegram</em> wrote last year.</p>
<p>Source: summerdeanmusic.wordpress.com</p>
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Wed, 19 Jul 2017 15:15:57 +0000Tracy G.100966 at http://www.cartermuseum.orgAmon Carter Museum of American Art Presents "Dornith Doherty: Archiving Eden" http://www.cartermuseum.org/press/releases/amon-carter-museum-of-american-art-presents-dornith-doherty-archiving-eden
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<span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2017-07-10T00:00:00-05:00">July 10, 2017</span> </div>
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<p>FORT WORTH, Texas—The Amon Carter Museum of American Art presents <em>Dornith Doherty: Archiving Eden</em> on view August 12, 2017, through January 14, 2018. The exhibition of photographs by North Texas artist <a href="http://www.dornithdoherty.com/">Dornith Doherty</a> intertwines science and art, showcasing the planet’s botanical diversity through 15 images from seed banks across the world. Admission is free.</p>
<p>For nearly 10 years, Doherty traveled the world from Australia to Russia photographing seed banks, which are designed to preserve the world’s crops and plants against species loss brought by blight, development, global warming, pests, unexpected change and war. Long interested in how humans shape the land, Doherty took it upon herself to explore seed vaults and the activities of their research scientists. Starting with a stop at the <a href="https://www.wildflower.org/">Lady Bird Johnson Wildflower Center</a> in Austin, Texas, she visited key facilities across five continents, including the <a href="https://www.croptrust.org/our-work/svalbard-global-seed-vault/">Svalbard Global Seed Vault</a>, just south of the North Pole on the Norwegian Island of Spitsbergen. Svalbard is one of more than 1,700 seed banks across the globe, but it is special because it houses duplicate seeds from other vaults to serve as a backup in case of a natural or manmade disaster. Because of its location, Svalbard is better positioned to withstand the potential aftermath of global warming or other manmade global disasters.</p>
<p>Besides documenting the appearance of these vaults, the artist created X-rays of a wide array of plant seeds with the assistance of scientists. Doherty then transformed the X-ray images into poetic odes to protecting the world’s botanical diversity.</p>
<p>“The artist used a variety of photographic approaches to create these remarkable images that symbolize biodiversity loss,” says John Rohrbach, senior curator of photographs. “A 7-foot-high lenticular construction showing X-rays of 1,400 ash tree seeds collected by the <a href="https://www.ars.usda.gov/plains-area/fort-collins-co/center-for-agricultural-resources-research/plant-and-animal-genetic-resources-preservation/">National Center for Genetic Resource Preservation</a> in Fort Collins, Colo., reflects the ongoing decimation of ash trees across North America by the ash tree borer. Her array of five banana-seedling clones illustrates scientists’ race to develop a new banana strain to replace our standard grocery store version, which may soon be lost to blight.”</p>
<p>Rohrbach says some ecologists suggest that earth is losing more than 10 animal and plant species each day, and he hopes visitors will ponder the plight of plants across the globe and in their own backyards.</p>
<p>“The exhibition asks us to consider the ongoing work of scientists and volunteers who work, far behind the noise of our daily newsfeeds, to protect earth’s botanical diversity,” Rohrbach says. “It is a call to reflect on the beauty, variety, and most of all, the fragility of our world’s plant life.”</p>
<p><em>Dornith Doherty: Archiving Eden</em> was organized by the Amon Carter Museum of American Art. A book of the same name accompanies the exhibition and will be sold in the Museum Store.</p>
<p>The artist will present a free lecture and book signing at the museum on November 4 at 10:30 a.m. This program on American art, culture and society is made possible by a generous gift from the late Anne Burnett Tandy.</p>
<p>A 2012 <a href="http://www.gf.org/fellows/all-fellows/dornith-doherty/">Guggenheim Foundation Fellow</a>, Doherty was born in Houston, graduated cum laude with a Bachelor of Arts from Rice University and received a Master of Fine Arts in Photography from Yale University. She currently resides in Southlake, Texas, and is a Distinguished Research Professor at the University of North Texas, where she has been on the faculty since 1996. In addition to the Guggenheim Fellowship, she has also received grants from the Fulbright Foundation, Houston Center for Photography, Indiana Arts Commission, Japan Foundation, United States Department of the Interior and University of North Texas. In 2016, the Texas Legislature named her a <a href="http://www.arts.texas.gov/initiatives/texas-state-artist/state-artist-visual-arts/">Texas State Artist</a>. Doherty’s work is in numerous permanent collections, including the Amon Carter Museum of American Art, <a href="http://stateoftheart.crystalbridges.org/blog/project/dornith-doherty/">Crystal Bridges Museum of American Art</a>, Bentonville, Ark.; <a href="https://new.artsmia.org/">Minneapolis Institute of Art</a> and <a href="https://www.mfah.org/art/detail/104082?returnUrl=%2Fart%2Fsearch%3Fartist%3DDornith%2BDoherty%257CJoseph%2BMills">The Museum of Fine Arts, Houston</a>.</p>
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Mon, 10 Jul 2017 15:21:59 +0000Tracy G.100911 at http://www.cartermuseum.orgStorytime begins June 7 at the Amon Carter Museum of American Arthttp://www.cartermuseum.org/press/releases/storytime-begins-june-7-at-the-amon-carter-museum-of-american-art
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<span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2017-04-12T00:00:00-05:00">April 12, 2017</span> </div>
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<p>FORT WORTH, Texas—The Amon Carter Museum of American Art invites families with young children to participate in this summer’s free Storytime series, held every Wednesday, June 7 through July 26, from 10:30 a.m.–noon. Storytime presents children’s books and connects them with artworks. The theme for 2017 is Summer Vacation: June 7—<em>Vacation? Staycation!</em>; June 14—<em>Pack It Up!</em>; June 21—<em>Are We There Yet?</em>; June 28—<em>Busy in the City</em>; July 5—<em>Unwind in the Wilderness</em>; July 12—<em>Places to Be, People to See!</em>; July 19—<em>Adventures Await You!</em>; July 26—<em>Eat and Explore!</em>.</p>
<p>“We have eight fun installments of Storytime, so make plans to come once or every Wednesday,” says Jessica Kennedy, public programs manager. “During each Storytime, parents may register their children to win that week’s featured books and a drawing will be held at the end of each program.” Those chosen need not be present to win.</p>
<p>Storytime is sponsored by Joan Trew, Williams Trew Real Estate, and is best for families with children ages 3–8 and their grown-ups. A snack will be provided by GoGo squeeZ. Parents are encouraged to call 817.989.5013 or email education@cartermuseum.org for parking tips. Please tag your photos #amoncartermuseum.</p>
<p>The Amon Carter offers a customized experience for summer school and day care groups on different days. Please call 817.989.5036 or email schooltours@cartermuseum.org to learn more. The museum is open Tuesday through Saturday, 10 a.m.–5 p.m., Thursday until 8 p.m. and Sunday from 12–5 p.m. Admission is always free. Follow us on Instagram, Facebook and Twitter @theamoncarter.</p>
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Wed, 12 Apr 2017 20:38:01 +0000Tracy G.100621 at http://www.cartermuseum.orgAmon Carter Museum of American Art Presents "The Polaroid Project: At the Intersection of Art and Technology" http://www.cartermuseum.org/press/releases/amon-carter-museum-of-american-art-presents-the-polaroid-project-at-the-intersection-of-art-and-technology
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<span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2017-03-20T00:00:00-05:00">March 20, 2017</span> </div>
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<p>FORT WORTH, Texas—The Amon Carter Museum of American Art presents <em>The Polaroid Project: At the Intersection of Art and Technology</em>, a sweeping overview of the <a href="http://www.polaroid.com/">Polaroid</a> phenomenon featuring the work of more than 100 artist-photographers along with examples of the tools and artifacts that helped make Polaroid a household name. The exhibition, which makes its U.S. debut at the Amon Carter, highlights the wide-ranging and often surprising uses of Polaroid materials through more than 150 images, including works by such heralded artists as Ellen Carey (b. 1952), Chuck Close (b. 1940), Marie Cosindas (b. 1925), Barbara Crane (b. 1928), David Hockney (b. 1937), Robert Rauschenberg (1925–2008) and Andy Warhol (1928–1987). The exhibition is on view June 3 through September 3, 2017; admission is free.</p>
<p>“Polaroid was the epitome of instant imaging long before the digital age,” says Joy Jeehye Kim, Assistant Curator of Photographs. “This show reveals the energy of artists who embraced the technology as a novel medium of experimentation.”</p>
<p>Visitors to the <a href="http://www.cartermuseum.org/exhibitions/the-polaroid-project-at-the-intersection-of-art-and-technology">exhibition</a> will see how artists experimented in black-and-white and color and produced images ranging widely in size and shape from modest 3” x 4” portraits to large dream-like mosaics built from 20” x 24” prints. Pervading all is an atmosphere of constant experimentation and energetic play as artists interrogate and reimagine the very purpose of photography.</p>
<p><em>The Polaroid Project</em> reveals the Polaroid Corporation’s technical and marketing roots, but it also showcases the company’s unusually strong and extensive commitment to art, starting with founder Edwin Land’s (1901–1991) close friendship with the great landscape photographer Ansel Adams (1902–1984), who often tested the Corporation’s new cameras and films in the mid-1950s and was an avid promoter of its achievements.</p>
<p>The Polaroid Corporation stood proudly at the forefront of photographic image-making in a world that had come to believe that <em>easier</em> and <em>faster</em> meant <em>better</em>. The company’s invention and production of finely designed, high-quality, yet easy-to-use cameras and films brought virtual immediacy to a medium that previously lived by the notion of “shoot and wait.” Land was a proud, ever-pushing genius who never hesitated to sound messianic in his pronouncements about Polaroid’s technical achievements. Like the romantic scientists of a hundred years earlier with whom he identified, Land believed his invention would not merely serve mankind in myriad ways, at work and in leisure, in the arts and the sciences, but even advance democracy.</p>
<p>During Polaroid’s prime, its cameras and films were purchased by millions of amateurs and countless professionals. While families recorded their anniversaries and graduation parties, filmmakers and fashion photographers made test shots, scientists recorded their observations, and police documented crime scenes, artists embraced the new medium as a grand new tool for image-making and experimentation. At the heart of it all was <em>instantaneity</em>—no longer did photographers have to send films to a lab, and wait for days or weeks, or even go into a darkroom for a laborious chemical process. With Polaroid’s instant range, photographer and subject could watch together as the image took form before their eyes. Polaroid not only transformed photography, it set the foundation for the expectation of immediate results we are so accustomed to today.</p>
<p>Supplementing the exhibition’s artworks are rare artifacts from the Polaroid Corporation archives that trace the development of the technology from Land’s early work with 3D photographs in military service during World War II and his initial development of instant cameras and film to the company’s famous SX-70 and Spectra cameras. In addition to presenting production models of both cameras and films, the exhibition also includes prototypes made of paper, plastic and wood that illuminate the creative puzzle-solving of the company scientists, engineers and technicians working through how to shift photography from fast to instant by way of elegant packaging. Together, the objects and photographs reveal how artists helped shape Polaroid even as Polaroid coaxed artists into exploring new ways of seeing and visually imagining the world.</p>
<p>“The exhibition drives home the company’s deep belief that art could and should be made anytime, anywhere, by anyone,” says Kim. “Polaroid, quite literally, taught the public not merely a new way of seeing, but a new way of relating to the world.”</p>
<p>Interactive cards that include information about the Polaroid Corporation’s cameras, film and history will be scattered throughout the exhibition for visitors of all ages to use. Large print labels will also be available for use in the galleries.</p>
<p><em>The Polaroid Project</em> has been organized by the <a href="http://www.fep-photo.org/">Foundation for the Exhibition of Photography</a>, Minneapolis/New York/Paris/Lausanne, in collaboration with the <a href="https://mitmuseum.mit.edu/">MIT Museum</a>, Cambridge, Mass., and the <a href="http://www.westlicht.com/en/">WestLicht Museum for Photography</a>, Vienna. After the exhibition closes at the Amon Carter, it travels to the WestLicht Museum for Photography, where it is on view December 5, 2017 to March 4, 2018. In 2018 and 2019, the exhibition will also tour the <a href="http://www.co-berlin.org/en">C/O Berlin</a>, <a href="http://www.mkg-hamburg.de/en/">Museum für Kunst und Gewerbe</a> in Hamburg, <a href="http://www.musee-mccord.qc.ca/en/">McCord Museum</a> in Montreal and MIT Museum.</p>
<p>In conjunction with the exhibition, the Amon Carter will sell a catalogue for $40 in the Museum Store.</p>
<p><strong>Free Public Programs</strong><br /><a href="http://www.cartermuseum.org/calendar/public-programs/artist-talk-ellen-carey">Artist Talk by Ellen Carey</a><br />
June 15, 6:30p.m.</p>
<p>Ellen Carey will discuss her experimental work with Polaroid from the 1970s to the present.</p>
<p>This program on American art, culture, and society is made possible by a generous gift from the late Anne Burnett Tandy.</p>
<p><a href="http://www.cartermuseum.org/calendar/public-programs/art-discovery-oh-snap">Art Discovery: Oh Snap! Family Workshop</a><br />
July 29, 10:30 a.m.</p>
<p>Families with children ages 7 to 12 can make with a photo-inspired art project. Reserve your spot beginning June 1.</p>
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Fri, 17 Mar 2017 16:03:17 +0000Tracy G.100550 at http://www.cartermuseum.orgAmon Carter Museum of American Art Presents “Craftology” on April 8http://www.cartermuseum.org/press/releases/amon-carter-museum-of-american-art-presents-craftology-on-april-8
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<span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2017-03-14T00:00:00-05:00">March 14, 2017</span> </div>
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<p>FORT WORTH, Texas—The Amon Carter Museum of American Art invites the community to Craftology on Saturday, April 8, from 6–10 p.m. This free event for adults features crafts, drinks, art and music.</p>
<p>Craftology guests may choose from a variety of papers to create a journal or sketchbook throughout the evening. Specialty workshops by local artisans—air plant terrariums with <a href="http://www.ephemeratx.com/">Ephemera!</a>, calligraphy with Lauren Essl from <a href="https://blueeyebrowneye.com/">Blue Eye Brown Eye</a> and silk marbling with <a href="http://www.oilandcotton.com/">Oil and Cotton</a>—are first come, first served; supplies are free but limited.</p>
<p>Extended gallery hours will allow guests to visit their favorite artworks or join Amon Carter docents for special tours at 6:15, 7:15 and 8:15 p.m. The <a href="http://www.cartermuseum.org/exhibitions/avedon-in-texas-selections-from-in-the-american-west">Avedon in Texas</a> exhibition on the second floor will include a selfie station. Food trucks will be onsite, weather permitting; <a href="http://www.cuppacraft.com/">Cuppa Craft</a> coffee from <a href="http://yourcoffeeexperience.com/">Coffee : Experience</a>, beer, wine and <a href="http://www.alchemypops.com/">Alchemy Pops</a> will also be available for purchase.</p>
<p>Free parking is available in the Amon Carter’s Camp Bowie Boulevard lot and in the UNT Health Science Center’s Clifton Street surface lot or east garage. Cyclists can find the nearest <a href="https://fortworth.bcycle.com/">Fort Worth Bcycle</a> station located at 1400 Gendy Street near the museum’s Lancaster entrance. For more event details please visit the museum’s <a href="http://www.cartermuseum.org/calendar">website</a>, and follow @theamoncarter on <a href="https://www.facebook.com/theamoncarter">Facebook</a>, <a href="https://twitter.com/theamoncarter">Twitter</a> and <a href="https://www.instagram.com/theamoncarter/">Instagram</a> for Craftology updates.</p>
<p>The Amon Carter offers a renowned collection of American art housed in Philip Johnson’s masterpiece in the heart of Fort Worth’s Cultural District. The museum is open Tuesday through Saturday from 10 a.m.–5 p.m., Thursdays until 8 p.m., and Sunday from 12–5 p.m. Closed Mondays and major holidays. Free admission.</p>
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Tue, 14 Mar 2017 14:43:45 +0000Tracy G.100543 at http://www.cartermuseum.org